— a tale of four Black Vietnam veterans who return to the country decades later to retrieve their squad leader's remains and a buried treasure. Blanchard spoke withabout his ongoing relationship with Lee, their latest collaboration, and what he’s focusing on next.
Well, I think, it's a matter of trying to really help him tell his story through his cinematic vision and it's evolved through me just growing deeper and deeper and deeper into his style. If you look at all of his films, especially with... those are military films and they can have some action, but that's not the type of music he wants. He wants more operatic, heroic type music and in doing that you have to find a way to kind of keep the energy up.
That kind of is just knowing the capability of the players and knowing that they have all of these instruments. Pedro is one of those dudes. Pedro is probably the dude that can take a piece of paper and put it over a comb and make music out of it. He's one of those types of guys, and I knew that when I wanted to use the duduk, he was the guy to get. Sure enough, as soon as he started to play, he has such a vibe and such a sound where you just have to give this guy room to do his thing.
Oh definitely. I mean some of the things I do [with Spike], I don't really do with too many other people. First of all, he's not shy in terms of playing the score. You're gonna hear it, that's for sure. It's not gonna be way, way down in the background. When I push in the orchestra and make them have a really big crescendo, you know it's going to be huge in the theater. So knowing that he will do that allows me to be able to manipulate those things even further.
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